Zechariah 1 Study Notes

1:8-11 The scene unfolds gradually, with clues appearing along the way and with the angel (or “messenger”) interpreting certain details. The man riding on a chestnut horse is the one standing among the myrtle trees, and he is the angel of the Lord. Horses may suggest speed, but the Hebrew construction translated patrol (also “walk”) suggests control (cp. 10:3). Finding the world calm and quiet underscored the contrast with the turbulence that the people of Israel faced. Some details of the vision (myrtle trees in the valley and chestnut, brown, and white horses) may have been included to enhance the sensory vividness of the scene rather than to convey symbolic meaning.

1:8 I looked out in the night apparently introduces all eight of the prophet’s visions. They offer a mix of the ordinary and the surreal—a world somewhere between heaven and earth. Like the apocalyptic visions of Daniel or Revelation, symbolism is commonplace, often requiring an interpreter.

1:12-13 When Jerusalem was destroyed, God’s glory departed (Ezk 10:1-19), and for nearly seventy years (likely a round number) God’s people had no temple to rally around or a central place of worship. Though the prophets had predicted that Jerusalem would become a wasteland (Is 32:14; Jr 9:11), they also painted images of restoration (Is 2:2-5; Ezk 40-48). Thus, the angel’s question of how long the mercy of the Lord would be withheld was one that God’s people were eager to have answered.

1:14-17 God being extremely jealous for Jerusalem suggests the intensity of his love as well as his high expectations for his people (Ex 20:5). News that the Lord’s anger was turning against the nations, who had unjustly abused the chosen few, and that God was returning to Jerusalem, denoting the end of judgment and the resumption of blessing, would have been very encouraging to Zechariah’s audience. The declaration that my house will be rebuilt suggests that the function of this vision and the ones to follow was to energize the people to unite in rebuilding God’s temple. On a measuring line, see note at 2:1-5.

1:18-21 This scene continues the theme of reversal (v. 15). Whereas God had used the nations to judge Israel, now he turns against those nations (cp. Hab 2). The imagery of four horns that scattered the people so that no one could raise his head suggests the terrifying power and merciless ruin enacted by Israel’s enemies. The craftsmen designate skilled artisans (blacksmiths, if the horns were iron) who could cut off or carve up horns for various purposes. With the horns in the vision removed, the chosen people could return to the promised land.

Gadol means great but has broader applications. Gadol is old (Gn 19:11), large (Neh 5:7), and loud (Gn 27:34). It is high (Ps 57:10), particularly regarding the high priest (Hg 1:14). Gadol connotes wealthy (2Sm 19:32), famous (Est 10:3), and prominent (2Kg 4:8), as well as remarkable (Ex 3:3), significant (Ec 9:13), and major (Ex 18:22). But it is mighty (2Kg 8:13), terrible (1Sm 6:9), or great (Jnh 1:4). Nominally, gadol signifies the rich (Lv 19:15) and powerful (Jr 5:5). Speaking “great things” implies boastfully (Ps 12:3). Gadol suggests fiercely with respect to the literal phrase “angry with great anger” (Zch 1:15). A “thing small or great” is anything (1Sm 25:36). Like other adjectives, gadol can mean greater and greatest or larger and largest. According to context it denotes severe (Gn 12:17), widespread (Neh 5:1), heavy (Dt 25:13), or broad (Gn 29:7).